First, due to regulatory and security issues related to maintaining the integrity of the drawings, the telecast must take place at a government-owned building — one that isn’t set up to handle the demands of modern television production.

And, despite the short length of each telecast, the combination of a fast pace and importance of real-time accuracy make it a much more complex production than one might think.

Channel 2, which recently took over production of the drawings from Channel 10, was also looking for ways to make production more efficient while also giving the broadcast a polished look.

Previously, the drawing required a crew of around 21, as well as bringing in a full sized production truck for every drawing.

That number has been reduced to two team members, with the possibility of reducing it to a single person.

“While the (man) count is important, it is not the only aspect of a modern production. Using Viz Opus the production is now much more accurate and runs flawlessly: cameras and mics are cutting at the right time, graphics appear on the (correct frame) and the clips are running on-time and the right audio level,” said Avshi Segev of Segev Sport, who worked with Channel 2 to integrate Viz Opus.

The production now uses Viz Opus to control the graphics, cameras and audio for the entire production.

As numbers are drawn from the old fashioned ball tumblers, a crew member taps the number drawn on a custom touchscreen interface, which triggers the Viz Engine to instantly put a graphical rendition of the ball on screen for viewers to see.

Viz Opus also controls the studio’s four robotic cameras, which pan across as each number is drawn.